Joseph Inglima Architectural Design Portfolio

ARCHITECTURAL DESIGN PORTFOLIO

JOSEPH V INGLIMA SELECTED WORK

202-222-8809 joeinglima@gmail.com New York, NY & Washington, DC

Work Experience

Kohn Pedersen Fox

Architectural Intern

Summer 2022

Assisted project team through the design development phase of a large scale multi-use project. Worked in Rhino, Enscape, AutoCAD, and Adobe Suite to complete drawings, diagrams, and renderings for the final director’s meeting presentation.

Rhode Island School Of Design

Teaching Assistant

2019–2023

Assisted Architectural Design and Spatial Dynamics courses taught by Professors Jacqueline Shaw, Spencer Hayden, Rachel Rosenkrantz, and Deb Coolidge.

Education

Rhode Island School Of Design

Candidate for Bachelor of Architecture (B.Arch + BFA) | 2018–2023

Emphasizes process, artistic sensibilities and social and ethical responsibility through physical and digital fabrication.

ETH Zürich

Regular Visiting Student

Fall 2021

Studied under the Chair of Anne Holtrop for the CHANGE: Towards Hydroscopic Design studio.

Brown University

Cross-Registration Coursework

Capitalism in American Literature- SP 22

Persuasive Communication- SP 23

Extracurricular

RISD Balls

2018–2023

Intercollegiate Basketball Team Captain

Awards + Exhibitions

RISD Architecture Triennial

Woods-Gerry Gallery, RISD Fall 2022

“Choisy Fragment Model” was chosen by Curator Cara Liberatore.

Walk & Talk

Azores, Portugal

Summer 2019

“Nancy” Furniture installation.

5th Annual Baker & Whitehill Student Artists’ Book Contest and Exhibition

Fleet Library Special Collections, Rhode Island School of Design

2019

Laurie Whitehill 2nd Place Prize Winner for artist book “I Love You, Dad” (2018).

Skills

Software

Rhino Revit

Enscape

Adobe Suite

Vray

AutoCAD

Sketch Up

Fabrication

Model-making

Drafting

Casting

Wood-working

3D Printing

Laser Cutting

Glassblowing

SOMETHING OF A DICHOTOMY

DEPRESCRIBING SUBURBAN MONOTONY RISD THESIS PROJECT

JUNKO YAMAMOTO

The experience of the American Suburb today is one of pure convention. As one walks down the strictly uniform street, there is little variety to be found from plot to plot. The evolution of the American House into the typical resolution we all know today began during the post-war period.

The house has become too specific. 1960s trends towards simplicity and sleekness resulted in extracted styles losing their beauty in design and functionality in exchange for cheaply constructed renditions of their aesthetic. My project responds to three exhausted styles to reintroduce their original core values back into suburbia. All three of these styles have qualities that can lead to a beautiful home experience, yet home design today fails to acknowledge them.

Three final models represent the three homes in their framing. The plaster elements are representative of the extracted qualities from the chosen styles. So we see the casted chimney, extracted from the cape cod. The casted ground path allows for the lighting condition extracted from the ranch. And the casted structure that is extracted from the neoclassical. The framing of the models is designed to fit together in lap joints previously studied. If we design homes based on a single attribute that is most pronounced in the architectural styles commonly employed and well-established in suburbs, we can discover the new formal and spatial potential that would otherwise be impossible due to the enforced conventions.

The new design would not completely be isolated from the context as it derives from the already existing architectural/spatial attributes, while at the same time limiting to singular extracted gesture would present us more possibilities for spatial/formal exploration, therefore, helping diversity the uniform suburbs.

The problem with the monotony of the suburbs is that it is prescribed. If we all volunteered to live in identical homes my project would not exist. This is not the case however, because so many of the suburbs are constructed in developments with little variety, along with the strict regulations from HOAs, there are no opportunities for diversity within styles other than the conventional. Individuals deserve more of a choice for the kind of home they wish to live within. This project is a cry for diversity within the design scape of the suburbs. We must question monotony and the system that prescribes it upon the suburbs. The specificity and rules force homes to all refer to convention standards rather than the styles that we call them. Conventions attempt to capture the picturesque home which was representative of the American Dream during the post-war period. The current state of suburbia disregards the innovations made in fabrication and design since that time. Our homes should be a reflection of who we want to be as individuals, not a reflection of the ideal 1950s style. That is why these designs follow a singular extracted idea that focuses on the experience of the individual. We must begin a movement away from the regulations and shallow picturesque qualities of the suburban experience.

Porch, Chimney, and Vault House Framing Models

EXTRACTED QUALITIES FROM PRECEDENTS

Cape Cod, Ranch, and Neoclassical styles were selected as the precedents to extract from. Each style has a specific quality that is reframed as the singular narrative of the new home. The Cape Cod becomes Chimney, Ranch becomes Vault, and Neoclassical becomes Porch. The process of extraction varies a bit for each type. The Chimney is a juxtaposition of the heating, circulation, and ordering core of the Cape Cod. The Vault is a celebration of the qualities of natural lighting found in the Ranch. The Porch is a criticism of the revival pedimented porches of Neoclassical homes.

Cape Cod House, 1900 Massachusetts Chimney House Model

Vault House Model

Porch House Model

Excerpt from Thesis Book- Exhibition Photo

Ranch House, 1900 Texas

Neoclassical House, 1820 Virginia

Front Elevation

Chimney House Framing Model

Plan 02 Section

Plan 03

Porch House Framing Model

HYDRO-SCISSION

MATERIAL GESTURE RESEARCH ETH / ANNE HOLTROP / ARCH. DESIGN STUDIO

Traces left on the landscape due to erosion are most often created by water. They are part of a centuries-long process that shapes forms and textures which show the passing of time. The project intends to mimic and accelerate these erosion processes in order to achieve similar forms to those found on the landscape, as a way of creating architectural elements that express water’s potential. There are currently only a few instances, of technical character for the most part, where water has a main role in the construction process of a building. This project attempts to change water’s perception in architecture and its design process. To mimic the traces of erosion, the material is treated with water to erode it artificially. Water is, in this way, used as a design tool instead of something to avoid, thus making it a main feature of the building.

Using a hydro-demolition lance (500 bar), material is sprayed before fully cured to evoke some of the shapes created by erosion. This turns the process of erosion into something controllable that occurs almost instantaneously, allowing its architectural use. To mimic the hydro-demolition tool in a model scale a commercial power washer (130 bar) was used. Out of a series of different material tests, (concrete, cement and clay) gypsum plaster was able to show the traces of water with the most plasticity.

Since a gypsum slurry starts setting 10min after mixing and finishes at ≈45min, spraying the surface after ≈20min setting time allowed for good workability and produced the best looking results. A mix ratio of 67:100 water to plaster was used, which has compressive strength good enough to avoid breaking while still having enough fluidity to be poured into form work.

The resulting proposal is one that immerses the occupant in a space defined by columns that preserve traces of water. The column allows for the tool to shape the gypsum in three dimensions, thus introducing a unique material feature. These are placed irregularly to create clusters which define the tightness of the spaces. Each composition is dependent on the craftsman’s proximity to the column and surrounding columns while spraying. Due to the technique’s incidental nature, identically cast columns become unique fragments.

In collaboration with Martin Serpell.

Gypsum Column (10x10x40cm)- 25 Minute Cure Time, Jet Nozzle

Rotational Nozzle

Oscillating Nozzle

Construction Grade Hydro-Demolition Lance

Rock Formations created by Glacial Erosion

Bedforms in the Massa River

A........................................

Concrete Column (10x10x30cm)- 21hr Cure, Jet Nozzle

B............................................

C........................................

D......................................

Concrete Column (5x5x15cm)- 18hr Cure, Jet Nozzle

Concrete Sample (10x5x15cm)- 21hr Cure, Flat Nozzle

Concrete Sample (20x3x20cm)- 30hr Cure, Cone Nozzle

E...........................................

F............................................

G..................................

H..................................

Gypsum Sample (4x5x10cm)- 25min Cure, Jet Nozzle

Gypsum Sample (5x6x8cm)- 25min Cure, Flat Nozzle

Gypsum Panel (5x7x1cm)- 15min Cure, Flat & Cone Nozzle

Gypsum Panel (5x7x1cm)- 15min Cure, Flat & Cone Nozzle

I.......................................

J...................................

Gypsum Panel (5x7x1cm)- 18min Cure, Jet & Flat Nozzle

Gypsum Panel (5x7x1cm)- 18min Cure, Flat & Cone Nozzle

K......................................

Gypsum Panel (5x7x1cm)- 20min Cure, Jet & Flat Nozzle

L................................................

M..............................

N...............................

O.............................

P...........

Gypsum Panel (5x7x1cm)- 22min Cure, Jet Nozzle

Gypsum Space (20x20x20cm)- 15min Cure, Jet & Flat Nozzle

Gypsum Space (20x20x20cm)- 15min Cure, Jet & Flat Nozzle

Gypsum Space (17x27x20cm)- 15min Cure, Jet & Cone Nozzle

Gypsum Columns (10x10x40cm)- Cast & Sprayed in Sections, 18min Cure

Construction Detail

Steel IPE 240

Cladding

Reinforced Concrete

Steel HEA 200

Sprayed Gypsum

Artificial Stone Concrete

Moisture Barrier Earth

Concrete Foundation

Steel Profile 5x5 Gypsum Board

Model Interior

Construction Process

Foundation + Steel Concrete Slab

Concrete Roof

Spray Gypsum

Section Plan

Gypsum Form-work

Ceiling Form-work + Rebar

RIPPLE

CEILING DESIGN FOR AN OFFICE SPACE RISD / NANCY NICHOLS / ADVANCED STUDIO

Rippling implies a center-point which waves flow away from, for a moment the waveforms are clearly defined- before the plane of undulation fades away. Preserving this moment of the defined waveform became the designated gesture for creating a ceiling design for an office space addition to the Providence Train Station along with a new ceiling for the entry space on the ground floor. Through studying vaulting precedents from both Roman and Islamic Architecture, the design draws from geometric strategies applied in these traditions. The concept of a designated workspace has been drastically affected by the Pandemic and work from home regulations. This project was completed during the first months after the mandatory quarantine which meant that the experience of the postpandemic work space was influential in the programmatic strategy.

The gesture of pivoting is perceived in this project as irregular rotation around a centralized position. This gesture creates unique intersections and connections, a detail that was explored throughout the development of the design. From start to finish of the project, the focus shifted from designing a pavilion, to a stacked structure, and concluded with a library. The final iteration imagines the given site in Providence, RI as a park with a library culminating at its apex. The majority of the program (cafe, checkout desk, meeting room, computer lab, bathrooms, and special collections) is housed on the ground floor, reserving the other four floors for reading and study spaces along with the book stacks. The circulation route to the top floor constantly changes between open spaces (reading/study floors) and modular enclosed spaces (the tubes).

On the ground floor of the station, the cafe is removed and placed on the second floor, the space is re-programed for the feature stair and office elevators. The feature stair wraps around the downward circulation which feeds onto the platform. The dome which occupied the entry space is replaced with a low relief cone which semi-aligns itself with the with diagonal axis of the tracks below. The cone also ripples throughout the remaining ceiling space in the public area on the entry floor.

The Pavilion introduced the intersecting, pivoting, tubes to the project. By circulating through the tubes, a visitor arrives on the raised ground plane, the perfect landing for sharing a conversation while gazing out onto the street. The interior condition of the tubes is a balancing act of semi-enclosed and open air moments which are experienced while circulating in the pavilion.

The clamshell axonometric drawing of the library shows the above/below condition of the reading floors and the enclosed spaces within the tubes. The stair organization bounces back and forth from tubes and reading floors, moving the visitors through a contrast of spatial conditions. The tube spaces force the attention of the visitor to the book shelves while the reading platforms suspend them within the expansive quadruple heightened space.

The rippling seen on the western side of the Floor 01 Reflected Ceiling Plan is a double heightened outdoor space that spawns from a cone that is positioned over the feature stair. The typical floor plan represents a shared office space, somewhere that individuals and small groups can come to feel as if they are part of a workplace organism that so many individuals need to be productive. The project allows for the variabilities of a dynamic workspace, curtains (represented in the model by wire-mesh) can be pulled out to create different enclosed spaces that run along the ripple’s edge.

The Basilica of Constantine in Rome, Italy along with the Jameh Mosque in Isfahan, Iran were the focused precedents of this project. The first was included in Auguste Choisy’s late 19th century surveys of the history of building using oblique and axonometric projection. The recreation of Choisy’s projection method informed a strategy for representation of ceiling relief throughout the project. The dome in the Jameh Mosque revealed the possibilities of the an octagonal arch that uses an inscribed circle to connect two sides of the octagon.

Ceiling Model

INSCRIBED CIRCLE

OCTAGON CIRCUMSCRIBED CIRCLE

Vaulting experiments led to the creation of these seemingly organic forms which are actually derived the specific geometric principles related to the inscribed octagonal arch. The forms become low relief cones that create completely smooth and kink-less surfaces because of the constrained curved to linear connections of the octagonal arch. The advantage of using cones that posses the sectional qualities of the blobs is that when they are split at the same depths they intersect evenly and fluidly. The diagram below shows the alignment of the rippling cones which compose the ceiling.

Jameh Mosque of Isfahan Dome Section Axonometric

Ripple Vault Profiles

Ceiling Model

FLOWER SYSTEMS

BUILDING INTEGRATION PROJECT RISD / LAURA BRIGGS / IBS

The project serves the Providence-based non-profit Whatcheer Flower Farm as a new flower nursery, office, and educational building. Located in an industrial area, on the site of a defunct linen factory, generosity was given to merging the old and new programs of the site. The brick facade wraps around the north and east sides of the building, while a self-shading curtain wall faces the south and west- looking out over the gardens. The brick is recycled from the old factory building and ordered with a rotating pattern. A new tectonic that matches the materiality of the surrounding buildings. The curtain wall is sloped to self-shade the windows facing the southern light. The efficient system is comprised of tripleglazed windows and heavily insulated spandrels, to maximize thermal comfort.

Egress runs through a pair of exterior cores located on each end of the building- both featuring circular stairs. The South-East exterior stair connects the ground to the balcony. Lobby entry is on the northwest side of the building, facing the street.

The steel structure follows a 15’x30’ column grid with trusses running north to south, a steel deck is then used to pour concrete floors. The building envelope is heavily insulated to support passive house standard thermal efficiency (R40 for Providence). Thermal breaks, flashing, drainage cavities, air gaps, and high-quality windows all contribute to a strong, continuous building seal that increases overall comfort. The building reaches net zero efficiencies through the solar grid which spans the majority of the building and an existing structure on the site. A greenhouse is placed in the courtyard within close proximity to the first-floor stem processing room for year-round harvesting.

In collaboration with Ioanna Athanasopoulou.

Tectonic Study Model

Building Section

South Elevation

Second Floor Plan 1/8” = 1’-0”

Third Floor Plan 1/8” = 1’-0”

KPF INTERNSHIP

FORUM 66 DESIGN DEVELOPMENT NEW YORK, NY / HYBRID / SY3 PROJECT TEAM

Joined the SY3 project team working on the Forum 66 project through the end of design development. The project site is located in Shenyang City, China, and is in the third phase of a decade-old project. The mixed-use podium boasts a massive total gross area of 5,410,581 SF. The building connects another mixeduse retail center to 5 apartment towers.

I was able to help polish up the final outstanding design update items and contributed many graphics and diagrams to the directors meeting presentation. My first task was designing housing material options for a stair enclosure within the project, and then I moved to develop a color study for the fins and soffit used within the project. I also contributed extensively to cleaning up the final rendering model- adding details to materials, fixing textures and materials, along with unifying various design updates into a single file.

As my internship came to a close, so did the DD period which concluded with a DD 100% Directors Meeting Presentation. The team worked towards curating the image progression and narrative so that the story would unfold for the client, making sure there would be no confusion in understanding what had changed from SD to DD. I was tasked with completing outstanding graphics and diagrams for the presentation, along with designing a graphic theme for the chapter title pages.

STAIR ENCLOSURE CLADDING OPTIONS

Wood Option 2

Stone - Option 1

Wood - Option 1

Bronze

Stone - Option 2